FEDS Trainee Eleanor Gwynne shares her recent experiences of attending film festivals as a newcomer to the industry and contemplates how festivals are struggling and succeeding in making themselves accessible to those from low-income backgrounds.
Earning a place on the FEDS training scheme has granted me access to the film industry I never imagined I would have. I have spent the last seven months undertaking a placement at Depot, an independent cinema in East Sussex, while also participating in industry training provided by the ICO. I have found the scheme to be a supportive entry point, focused on building practical skills and breaking down gatekeeping attitudes that so often impede new perspectives from entering the film industry.
One of the most noteworthy experiences I have had in my time on the FEDS scheme is attending film festivals and other industry events such as Screening Days. Doing so has allowed me to form relationships with others in the industry, especially my fellow FEDS trainees, and to engage with films I would not have otherwise seen. However, these events can also be overwhelming for those of us who are still in the early stages of our careers. I would like to reflect on my own experience of attending two very different film festivals, under very different circumstances: Sheffield DocFest and the BFI London Film Festival (LFF).
I went to DocFest early on in my traineeship, choosing this festival because it had a reputation for being relaxed and friendly, and for showcasing a wide range of films across a variety of venues. It was my first time attending a festival as an industry delegate, in a city I had never visited before. While there, I saw many thoughtful, creative films, including Moonage Daydream, Beba, and The Melt Goes On Forever: The Art & Times of David Hammons. I pushed myself to chat to as many people as possible, finding that the most interesting interactions I had were with young people working on the festival and with passionate new filmmakers. I also enjoyed a portion of the programme online after I had left Sheffield, an option that feels hugely important given that the expense of travel and accommodation is so often a barrier to accessing festivals. Certainly, I would never have attended DocFest in person without the support of the ICO.
My experience at DocFest was therefore largely positive, although it was also lonely at times. While there were events aimed at providing opportunities for new filmmakers to network with insiders, there seemed to be few events geared towards those beginning to cultivate careers in the wider industry, including exhibition. I could not help but feel that it would have been beneficial to have more dedicated spaces specifically to meet other people starting out in film. Such events would also help those who are interested in supporting new voices get to know the next generation.
My more recent experience at LFF was very different from my time in Sheffield. I went not as an industry delegate, but as a member of the public, attending one event: a special presentation of Bones and All. At DocFest, all the screenings I went to were open to the public, however at LFF there appeared to be a real difference between attending as an industry delegate and attending as a member of the public. The day before the special presentation, another FEDS trainee relayed to me her experience of going to an LFF industry screening of Bones and All; the public screening I attended was markedly unlike the low-key event she described. At the special presentation, members of the cast and crew appeared on the red carpet before introducing the film in the Royal Festival Hall. Everything felt designed to generate a heightened level of buzz.
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I had a great time at the screening. There was a sense of communal anticipation in the venue, and having the film introduced by the creators certainly amplified this, as well as providing context to what we were about to watch. It was surreal and exciting to see Timothée Chalamet, one of my favourite actors, in person. I left having been shocked and moved by a film that represented so much of what I love about cinema, in a way that resonated deeply with my personal tastes. Yet I could not help feeling that the atmosphere around the screening, while enjoyable, was also somewhat alienating.
One of the main appeals of film for me when I was growing up was that it was more accessible than other art forms. Though I did not often see new releases at the cinema, I loved to stay up late, stealthily watching films on television. When I got older and began going to the cinema more frequently, I wanted to watch unusual titles at independent venues, but found that these tended to feel like distinctly middle-class spaces catering to people who were not like me. As someone from a low-income background, it could sometimes be hard to escape the feeling that I was traversing a class boundary simply by going to see a film.
At LFF, I was reminded of the feeling I had going to some independent cinemas in my late teens and early twenties. I found myself wondering whether I would have felt comfortable enough to enjoy the event prior to starting the FEDS scheme. It was interesting to reflect upon this while watching a film that dealt with themes around otherness and poverty – the images on screen stood in striking contrast to the glamour of the event and venue. I was aware that I had only been able to book my seat in the front stalls because I had been gifted a BFI membership for my birthday. Without this, it would have been far more difficult to secure a place in the room, certainly in such a prime spot.
The more glamorous events at LFF are effective ways of generating publicity and awareness around new releases, not to mention revenue. But it seems worth reflecting on whether festivals should be making more effort to make major films accessible. Offering cheaper tickets for those 25 and under may serve the industry by incentivising attendance for younger audiences, but it fails to increase accessibility for many other underrepresented groups, including those from less financially secure backgrounds. The LFF For Free programme of events, introduced in 2019, is a positive step towards greater inclusivity, providing access to select events without cost. However, it is worth noting that some of these events are related to film screenings which require standardly priced tickets. The fact that LFF previews are available in cinemas outside of London is also a good thing, but there is surely something to be said for giving as many people as possible access to the festival itself. At present, there is a clear prioritisation of more affluent filmgoers, particularly when it comes to gala and special presentation screenings.
My experiences do not represent those of all festival attendees from low-income backgrounds. Nonetheless, they have inspired me to think more deeply about how film industry events treat both those beginning to build careers and those who may one day wish to work within the industry, but are potentially excluded by the current staging of larger releases at festivals. While I do not have answers to all the concerns I have raised here, I would like to conclude with a few remarks about ways in which the festivals I have attended succeeded in promoting an inclusive atmosphere.
At LFF, it helped me to feel comfortable finding out that there was no dress code for the special presentation, something that may be taken for granted by experienced festivalgoers, but was not obvious to me. I also found those stewarding the event to be friendly and helpful. At DocFest, relaxed daytime industry events struck me as the most accessible, especially as I was attending alone. I also liked that the screenings at DocFest felt open and casual, including those which featured appearances from the filmmakers. It made events feel more welcoming when these special guests appeared after the film to engage with the audience, for example in Q&A discussions, rather than simply introducing the film. Giving the audience the option to ask questions anonymously via systems such as Slido further helps to make these events feel accessible. Of course, the glitziness of major film screenings is part of their appeal. However, there may be ways to further promote a sense of inclusivity at these events, for instance by providing assistance for those on a low income to attend, or incorporating more audience engagement into public screenings.
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Header: The cast and crew from Bones and All onstage at the BFI London Film Festival, taken by Eleanor Gwynne